It’s an impressively starry cast, but sadly, this lacks the charm, wit and, yes, magic of the original. You’ll like it, not a lot.

This strict adherence to formula is wearing for anyone over ten, but worse is Lohan.

Fans can console themselves with some disorientating creepiness as half-glimpsed monsters swarm and the fine melodramatic performances. But as the film descends into a babbling wreck you start to wonder whatever became of the directing talent that gave us Dark Star, Assault On Precinct 13, Halloween and The Thing.

Mildly amusing at best and a criminal waste of a great concept.

An ordinary, forgettable horror film. Even the Devil deserves more than this.

While not wishing to be facetious about women and children held against their will in any country, this tearjerker is strictly TV movie for a wet Wednesday stuff.

A bit of an odd one, an action-comedy throwback that doesn’t quite know what it wants to be. Still, it bodes well for Pierce Brosnan’s new phase as a grey-haired action star.

The film strains in two different directions, half trying to stay true to its based-on-fact roots, half wanting to ditch all that and become a ridiculous farce.

Vintage Lee visual flourishes and a couple of chucklesome fantasies spoofing a 70s sitcom and blaxploitation flicks make this more watchable than the infuriatingly pointless content warrants.

For all its originality, O’Dessa can’t help but get tangled up in its own mythology, dragged down by a romance that never sizzles.

If you came for cute canines you’ll get them, but you’d get more entertainment from an hour of dog videos on YouTube.

Hugely impressive musical and dance performances from the two young men playing Michael Jackson cannot shake off the uncomfortable fact that there is an entire other side to the pop star’s story which is entirely conspicuous by its absence here.

As a light family sports feel-good this works but don't look for anything more.

Even when supercharged by Kirby’s unwavering star power, this distractingly muddled stab at social commentary baked into a hardboiled thriller lacks the momentum to make it to the morning.

Despite the stars best efforts this is neither funny or original.

While this may not quite be a stake through the heart, Wes Craven's curious mix of the comic and the horrific is another nail in Eddie Murphy's career coffin.

A sadly lightweight spar through rule-breaking cop conventions that doesn't utilise it's star's bulk to any great effect.

Not the return to form you might have been hoping for. Its story might cover all the same beats as the 2003 original, but there’s little of that film’s spark or spirit.

Destined to be a big drinking game — take a sip when Broadbent bites his sandwich — but little else, this feels like a major missed opportunity.

Fitfully funny but failing to really build to much of anything, The Boss is mostly a bust. Even its main character would have a hard time buying it.

This is supposed to be serious hard-hitting but with most prehistoric depictions, only manages either school reconstruction or parody.

A great cast is let down by a script that fails to provide a compelling mystery to solve. Never mind as a big-screen production, this would be disappointing as a BBC mini-series.

Terrible, but not worth getting worked up about.

Lacking anything approaching originality, The Hitman’s Wife’s Bodyguard is a generic, by-the-numbers action-comedy sequel. Praise be for Hayek, who at least gives it gusto.

Plenty of shock and gore, and David Harbour is more than worthy to wear the horns. But this is a reboot in need of a reboot.

Notwithstanding the efforts of a game cast, this is a grotesque miscalculation that disrespects the memory of those who perished in one of the darkest episodes in recent history by turning it into a piece of white-knuckle entertainment.

Inspired by The Graduate it may be, but despite Aniston’s charm, this confused comedy will not be seducing anybody.

There are some engaging moments, but director Ken Kwapis fails to achieve a distinctive tone.